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Enrolment process

1. Complete the enrolment form:

Complete the form and check that all obligatory fields are verified with a green tick

Preferred language

Preferred timetable

Name

Surname

Passport / National ID Number

Date of birth

Address

Town

Nationality

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Telephone 1

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Email

Previous studies

Current profession

You heard about us via

Photographic knowledge

2. Select desired payment method:

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Full payment by credit card

FULL PAYMENT OF 6900€ BY CREDIT CARD.

By selecting this method, the payment process will redirect to our Banks website. Your bank details will not be kept by Grisart Fotografía S.L but sent directly to our bank under secure protocols (HTTPS). Your account will be charged immediately.

Full payment via bank transfer

FULL PAYMENT OF 6900€ VIA BANK TRANSFER FOR NARRATIVE ITINERARY.

When selecting this payment, you must pay the total amount of the course via bank transfer or deposit in the account of Grisart Escuela Internacional de Fotografía:

You must send the proof of payment to inscripciones@grisart.com. Your reservation will not be effective until the arrival of funds to our account has been verified.

It is important to indicate your full name (or that of the person who will be taking the course) in the sender field of the transfer information.

Payment in instalments with surcharge, initial payment by credit card

INITIAL PAYMENT OF 950€ BY CREDIT CARD.

Payment will be made in 7 instalments:

Initial payment of 950€ by credit card.
By selecting this method, the payment process will redirect to our banks website, your bank details are not retained by Grisart Fotografia S.L but are sent directly to the bank operator under secure protocols (HTTPS).
Your account will be charged immediately.

Second payment of 3500€, will be made by direct debit 30 days before the start date of the course.

The remaining 5 instalments of 550€ will be made by direct debit at the beginning of october, november, december, january and february.

3. More Information:

In case of not being a Grisart student, you must:

CV (attaching any document that proves knowledge of photography).

Portfolio (minimum 20 JPEG images with a maximum of 2,000 pixels on the longest side, including a brief explanation on the project or theme, if case there is a common subject that links the images between them).

Letter of motivation

Send a PDF bank receipt of payment to inscripciones@grisart.com.

Cancellation policies:The user will have a maximum period of up to 14 days to withdraw from the contract, in accordance with the article 71.1 of Law 1/2007. For this purpose, it is reported that for the exercise of this right, the user must communicate his/her willing to withdraw the contract by formalizing the document of cancellation of the enrollment (that can be downloaded from this link), which expressly indicates the contractors, the people, the place where it has to be addressed. The abandonment within the term of 14 days, will involve the reimbursement of all the registration fees that have been paid. After this period, the user may not desist or be entitled to any compensation or refund of any amount due to this withdrawal.

FROM DOCUMENTARY TO FICTION

The storytelling power of photography spans a wide area, ranging from the classic photojournalism to the recreation of reality in elaborate fictions that are embodied in books, exhibitions and Internet projections.

To be able to tell stories with a camera, it is necessary an absolute control of the photographic medium, and the techniques and related languages like that of the video. The mastery of image semantics (what to tell) and visual syntax (how to tell it) enable us to take the final step, the promotion of works via the many mediums that utilise photography.

At Grisart International School of Photography, we have developed the Complete Program of Narrative Photography to help photographers master this knowledge and ensure their learning. It consists of eight interrelated lines of study: Documentary and Photojournalism, Video for Photographers, Creativity for Projects, InDesign Layout; Desktop Publishing, Management and Business Legislation, Planning and Promotion of Work, and Cultural Planning and Intervention.

The combination of photography related subjects with others related to management and the promotion of work give the our students a solid education and the necessary security to enter the professional world.

Alternative combinations of lines of study available (Hybrid Itineraries). Ask for more information at info@grisart.com

The students will be given the opportunity to choose the language in which they will attend this course: either English or Spanish. Most of the activities extra classes (guided visits to exhibitions and conferences) will be in Spanish.

1- DOCUMENTARY PHOTOGRAPHY AND PHOTOJOURNALISM PROGRAM

To communicate, excite, surprise and synthesize: these are the challenges to photographers committed to communicate, independently of the media (press, specialized journals, archives, editorials…) or the support (paper, video, television or Internet) they use to publish their work.

With this Documentary Photography and Photojournalism Program, GrisArt enables the acquisition of theoretical, expressive, editing, critical and historical knowledge necessary to develop, with total solvency, this powerful communication tool.

In addition to focusing on such fundamental aspects as the photographic essay and news photography, the course also explores specific genres (travel, anthropological, social and conflict, as well as sports or nature reportage), taught by specialist photographers.

Increasingly, within that field, professionals must be specialists capable of reinventing and adapting themselves to the new technologies if they do not want to be marginalized in a continuously evolving profession. To avoid this he or she mustconsider the following:

The photographic still image is no longer the only used graphic resource. The new photographer must master and take advantage of video, which any current camera already incorporates in its design. That implies the control of its narrative codes and its technical possibilities.

Traditional cameras are no longer the only tools capable of providing good results. Electronic devices like cell phones may be suitable means to solve things in concrete situations. The captured image can be complemented with further processing and automated digital treatments.

Photographers must control the quality of their images and manipulate them in order to enhance their eloquence. To be able to achieve that, they must acquire those digital processing skills that will allow them to operate within the field in a diligent manner, also offering them the chance to distribute their work widely.

Photographers must be aware of the radical and continuous changes that take place in the field of communication in order to consider globalization and social networks as an opportunity to spread their work.

SYLLABUS

Photojournalism Concept

Types and Classifications

Spreading Channels

Ethics and Politics

Technical resources and Photographic Language

Elements of the Photographic Language and its narrative possibilities

Theory and practice of Photo Editing

The Use of Flash in Reportage

History and the Present

History of Photojournalism: Relationship between Its Technical and Stylistic Evolution

Current Styles and Trends

The Professional Context

Photojournalism Agencies, News and Archives

Associations. Copyright

Methodology and Working Criteria in the Media

The Photographer Working for a Specific Media and the Freelancer

The Impact of New Technologies in the Media

Promotional Strategies for One’s Own Work

The Genres

Travel Reportage

Anthropological Reportage

Social and Conflict Reportage

Sports Reportage

Nature Reportage

The Journalistic Portrait

Supervising Student’s Work

Continuously and all throughout the course, the instructor supervises the work of students and encourage group discussions. The following are the individual projects expected to be completed in the course:

Various kinds of shooting exercises (from covering a story to developing little reports based on the subjects treated in the course) planned as assignments for print media.

Development of an in depth photo news report: documentation, shooting, analysis and editing.

2- PROJECT CREATION PROGRAM

The Project Creation Program is designed to increase and stimulate the artistic potential of demanding students, eager to explore to the maximum of their creativity.

In order to prepare the stages of conceptualization, documentation, production and distribution of the work, each student is going to choose a creative project to develop throughout the course that will be supervised by the teacher and enriched by the critical opinion of the rest of the group.

Its progress —based on the work itself, as well as evaluation and supervision— will be reinforced with the inputs of various photographers of recognized artistic experience that, together with arranged visits to cultural foundations and art centers, will help expand the horizons of creativity.

This program is essential for all those students that feel that photography is a means of artistic expression, as well as for those that have chosen to develop their photographic activity in other areas, but are aware of the importance of having a critical view and creating a coherent body of work with its own character.

After finishing the course, the school invests its efforts in order to give an echo to the best projects of the students in galleries and national and international festivals of photography.

Knowing the experimental and productive possibilities of digital technologies, GrisArt suggests that, depending on the interests of each participant, this course be complemented by one or two of the following:

SYLLABUS

Photography and Artistic Creativity

Concept of Creativity, Originality and Authorship. Co-Authorship and Derivative Work. Principles and Attitudes to Foster Creativity. Technical and Conceptual Creativity.

The Status of Photography as Art. Historical Tour

Photography as Contemporary Art. Three Fundamental Essays

Boundaries Between Art and Documentary. Fusion of Genres and the New Documentary

The Relationship with Other Fields in the context of Creation: Literature, Painting, Music and Cinema

The Photographic Project

The Workflow of a Photographic Project

Creative Process in Photography. The Four Basic Typologies

The File as Source of Our Photographic Project

New Media for Artistic Production: the Use of Mobile Technologies, computers, Internet, Videogames, GPS, etc.

The Realization of a Photographic Project. Types of Work. From the Photographic Print to the Mobile Apps

Making an Artist Portfolio and Documenting the Project

Personal Supervision of the Development of the Student’s Project, from the Conceptualization and Research Stage to the Definition, Realization, Editing, Presentation/Defense and Promotion of the Project

Contemporary Photography

The Photograph in the Contemporary Art Context. The Top Ten Trends

Photography and Identity. Successes and Failures in Representing Identity

Photography, Time and Memory. Photography as Witness to the Passage of Time

Photography and the Document. The Photographer/Anthropologist. Photography and the Journal. The Photographer as Subject

Photography and the City. The Many Cities and Their Representation

Photography and Nature. Beyond the Landscape

Photography and Fiction. Creating Parallel Universes

Photography and Conceptualization. The Photographic Medium as Subject Itself and as a Tool of Thought

Career Opportunities

The Artist Photographer

The Curator, Criticism and the Work in Galleries and Art Centers

Photography in the Publishing Context. The Desktop Publishing of Photo Books

3- VIDEO PROGRAM FOR PHOTOGRAPHERS

The vertigo of technological innovation brings challenges and solutions to demanding photographers. It allows them to communicate with increased creativity, but requires them to be constantly learning to keep up with it.

4K video, which is already incorporated in the news cameras, is the key to develop a new expressive tool fully implemented in the documentary, advertising, fashion and, in general, photographic context.

Even though photographer’s sensibility and knowledge remain indispensable in the creation of images, the new audiovisual language requires mastery of its narrative codes and its related technology.

The Video Course for Photographers takes advantage of the characteristics of today’s photographic camera (lightness, interchangeable lenses, small size, readiness…) to propose exploring new means in an era of constant change.

All along the training process, students will learn the process of non-linear editing with what is currently one of the accepted best software around, Adobe Premiere Pro. With it, they will be able to develop their final project, which will encompass photography, video, text and audio.

CULTURAL PLANNING AND INTERVENTION PROGRAM

For the same reason that, in the last decades, the world of art has invaded the photographic environment, the photographic image has found today an excellent place of distribution and sales in the venues exclusively reserved until now to the fine arts.

All training in the line of Narrative Photography widens when the student knows the rules and operation of the cultural institutions with which he or she will get in contact in the future.